BOPNDICKS
10 PICKS AUGUST 2009
CHARLES
MINGUS MINGUS AH UM
Columbia Legacy
This Cd combines two of the most creative prominent
efforts by Charles Mingus in his career with Columbia Records, a
merging of “Mingus Ah Um” and “Mingus Dynasty,” both produced
in 1959, culminating a most torrential period of the 1950's in
modern jazz.
As an active hurricane season will create havoc and
destruction, it also nurtures and sustains the land.
This was a very productive period in the Charles Mingus
odyssey.
This was' nt music to dance along with your sweetheart.
It encompassed stormy elements of avant gard, free jazz in sometimes,
Third Stream settings, with blues and bebop, prominent in Mingus
compositions with moody, seductive and illuminating expressionism,
“Open Letter To Duke,” the crass and naughty Booker Ervin noir,
”Boogie Stop Shuffle.”
(My nouveau boogie eyes and ears were opened up, after
playing “Mingus Ah Um,” and hearing Booker Ervin for the first
time on my little FM jazz show on WQRS in Detroit in the early 60's.)
A raucous blues, “Better Git It In Your Soul” starts
this marvelous mayhem, reaching all the upscale vivid expressions,
prevalent in Mingus compositions.
His sense of orchestration achieve a similar level to
Ellington in the fifties. (Listen to The Duke's orchestral
achievements in those days.)
Only difference is Mingus would've been farther out and
yet, still make sense to most jazz fans.
“Fables
Of Faubus” is a Shakespearean nod, a hip, lumbering, satirical
rebuke of institutional racism.
Mingus showed how it felt to be cussed at, in a smooth
groove, enjoying it, oblivious of the absurdity. And with the swirly
low down, “Pussy Cat Dues,” a downfall for many a dowager.
As the sexy, leggy lady said: “You're a Fool To Want
Me.” Whaoh! It's about passion, 'you done me wrong' passion, the
most pungent atmosphere of this 2 CD classic edition.
Rejection in all forms, lost love, discrimination,
isolation and glorious to feel all forms of emotion to know and
understand real love. Most never do.
Remember now, Mingus would compose, practice and demand
his approach on this music to the band in his Jazz Workshop sessions,
as a Vince Lombardi would exhort his men to do it right, with a
blackboard description, “with a seal here and a seal there.”
After all, you need a good running game in win.
And Charles Mingus proved once again that he was a
fierce inventive orchestrator.
The great thrill of this remastering is that you hear
all the Mingus shouts, screams and exhortations, all the passion,
humor in making this a real jam!
Congratulations, you've been chosen to receive the
highly acclaimed, original “Mingus Dynasty” recording, absolutely
free, upon your purchase of “Mingus Ah Um.”
Actually,
it's a part of this 50th
anniversary, Legacy Edition.
“Slop”
is a shout first, bathed in blues with hearty gospel broth, laden and
written later with a funky scowl of Roland Hanna's piano, beholden to
no one genre, but a horn and reed sophisticated backdrop and a cool
Mingus bass line.
“Diane”
seems taken from an Ellington, Irving Berlin context. We don't know
Diane in real life, maybe she's a reflection of a myriad of various
seductive feminine myths within the mind of the creator.
Roland Hanna's piano introduction to “Song With
Orange”is rhapsody.
Richard Williams muted trumpet, the reed section of John
Handy, Benny Golson, Booker Ervin, Jerome Richardson and Jimmy
Knepper on trombone, who sat in on many Mingus sessions, are
altogether magic on “Gunslinging Bird “and Don Ellis trumpet on
Ellington's “Things Ain't What They Used To Be” has an impact to
be felt as Ellis did his thing with an electrified trumpet and
orchestra in the sixties.
Mingus arrangement of “Mood Indigo” covers all the
fears of indiscretion, intimacy of letting go.
“Strollin”
is the only vocal by Honey Gordon, that imbues the confusion, the
blues and love of loss.
There are so many 'tree of liberty' points of expression
by musicians on this CD, who made their mark in later years. Booker
Ervin, Shafi Hadi, Horace Parlan and Teddy Charles.
We recommend you air the recent remastered Mingus 2 CD
set over the speaker system at your next cocktail party. Your friends
won't really hear it, except for the occasional, “what is that?”
You remark: “What do you think?”
I
occasionally try to tell everyone about Charles Mingus and make the
make the mistake,
he should be enjoyed, not intellectually enthused.
Once again, this remastering of “Mingus Ah Um” and
“Mingus Dynasty” orchestrations and instincts for the talent on
this CD, make it such an important edition to your Modern Jazz
collection.
JOE
LOVANO US FIVE FOLK ART
Blue Note Records
As a most prominent originator in post modern jazz, Joe
Lovano can be described as illusive, yet forthcoming and progressive
with his overall discography, whether it's symphonic, nonet, octet,
quintet, his recent association with legendary pianist Hank Jones, to
the music of you ng moderns, as in the new US FIVE CD, “Folk Art.”
“Powerhouse”
is naked evidence of bop inference. The kind that Parker, Gillespie,
Powell, Mingus and Kenny Clarke would lay out on the veranda of a
jazz revolution.
“Folk
Art” is more hip blues, undulating, repetitive hard bop, a
repository for Lovano's progressive statements. James Weidman,
Esperanza Spalding and Otis Brown III, just cook with excitement for
10 glorious minutes. “Wild Beauty” is Lovano's melodic “woodshed”
itinerary. It's just what is says, wild and beautiful, and
reverential Sonny Rollins.
“Us
Five” is pop art, contemporary, palpable and discerning hard bop
drive, because Joe Lovano loves all this variety, obfuscation and
discernible chemistry. Get ready for more original Joe Lovano as he
works with a youthful energy of pianist James Weidman, whose intro to
“Song For Judi” is superb, where Esperanza Spalding's bass lines
are more succulent, with two drummers , Otis Brown III and Francisco
Mela.
Weidman's piano runs on “Dibango” are in the groove
and not so far out, that you need to suck on a helium balloon to keep
you happy.
“Ettenro,”
doesn't mean we have to overhaul the whole mess to keep everyone,
happy.
“US
FIVE” is a group, as a forthcoming art and life, of this new post
modern romantic earth's capacity to think of jazz as a sensuous sub
culture.
DONNY
McCASLIN DECLARATION Sunnyside
Records
How does a young man play music in surfer paradise,
where The Boardwalk, one of the West's oldest amusement park,
glitters almost every night.
Donny
McCaslin did that, in Santa Cruz, one of the most beautiful places
in the world with
his dad's ensemble at 12 years old, learning improvisation from his
elders, performing in youth jazz orchestras at the Monterrey Jazz
Festival, touring Europe, studying composition, technique and
improvisation at Berklee School Of Music and becoming one of the most
sought after saxophone session players... now!
“Declaration”
has become the most recent aperture of McCaslin's composition and
arranging skills.
“M”
with Edward Simon's agape reflective classical intent, amid the
amongst, is more stupendous, than most.
“Fat
Cat” is a remarkable Latin contrapuntal performance of the sweet
performance with dynamics provided by Edward Simon, Antonio Sanchez,
Ben Monder, Scott Colley and Pernell Saturnino on percussion.
Apply added brass with Alex Sipiagin, Chris Komer,
french horn and Marshall Gilkes, trombone, and you have what may be
termed as a powerhouse of sound, worth writing about.
One can only surmise how exciting this would be, to
witness in person.
“Declaration”
has the glorious declaration with Donny McClarin's saxophone clarion,
a call to Jazz arms, a dramatic intensity of a nation with rusting
infrastucture, broken down levies and bridges, vacant buildings,
abandoned neighborhoods and yet, open arms optimism.
“Uppercut”
is bop's sense of melodious energy. Scott Colley's open bass lines
add so much to energy and swing to this tune, setting a stage for
some McCaslin's most free and strong playing on this CD
What's it's all about?
You know what it's all about. “Rock Me” is what it's
about. And what Donny McCaslin's deep soulful harbinger is about. And
Ben Monder's earnest rhythm guitar pranks with roaring Amps. The
stage is alive with pyrotechnics!
And, you know what R & B raucous is all about!
“Jeanina”
is a waltz, “enselincia,”a precious child whose simplicity and
playfulness mean so much.
“2nd
Hour” is a prime example of delicate,comprehensive time signatures
with in this tune and throughout this CD.
This aggregation is the best around to make McCaslin's
compositions happen with profound comprehension.
The best in the world performing McCaslin's
masterpieces, and they are!
“Declaration”
is the post modern jazz in the 21st
century. A culmination of sound and energy, acculturated in the
world's greatest music schools, training the new moderns, including
new Donny McCaslins for a new age!
CHRISTIAN
McBRIDE & INSIDE STRAIGHT KIND OF BROWN
Mack Avenue
Records
Bassist Christian McBride begins with a romp, “Brother,
Mister.” Remember the funky, glorious low down, Jazz Crusaders and
Ramsey Lewis? Brother Mister is all that, if you please to listen
over and over, and over again, until you tire, then listen again, a
day later.
“Theme
For Kareem” is for who we think it is, who, by the way is a jazz
fan. And Warren Wolf Jr is sounding so much like Lem Winchester, the
late great r&b jazz vibraphonist. Eric Scott Reed, pianist,
about explodes on keyboards, then the hook with Steve Wilson's
saxophone harmony with Wolf's vibes, a killer groove!
“Rainbow
Wheel” is another straight ahead jam featuring Steve Wilson and
Eric Reed's more vertical lyrical lines.
“Starbeam”
is a lyrically folk modality, featuring Steve Wilson on flute and
Eric Reed's piano rhythms, with McBrides very subtle bass and smooth
transition to Warren Wolf's very delicate blues liners on vibes.
“Used
'Ta Could” is another late Saturday night r&b jazz, with
everyone standing with their kind of salvation, talking about
Christian McBride's direction, with Eric Reed's funky piano rhymes,
Warren Wolf's vibrations, Steve Wilson snaky style alto and Carl
Allen's dedicated pulsation. All of which, are classy and
sophisticated, a 'live' genuine show stopper with many encores.
“Uncle
James” is smooth, contemporary with a ¾ harmony, that will blow
on your Remy Martin twist.
“Stick
& Move” is a full boat with McBride setting the pace, more
frenetic with Eric Reed's bebop antics and upscale Warren Wolf
vibraphone's r&b style urbanity. Steve Wilson's hot & sticky
alto and the fast pace McBride bass solo, you'd swear they can type
220 words a minute with a total sense of urgency.
So get ready because “Kind Of Brown” comes flying at
you like NASCAR, swooshing to a live neighborhood venue near
you...soon.
TAMIR
HENDELMAN PLAYGROUND Swingbros
Records
There's no better way to begin, then Herbie Hancock's
classic “Driftin” and Tamir Hendelman handles it with the kind of
care, that Oscar Peterson would commend, for his key stroke in grand,
confident and commanding.
Then his opposing, dancing yet delicate romancing on
“I'm Old Fashioned” is what is ordered for that still Peterson
enthusiasm for the song's love and romance core.
Tamir Handelman studied piano in Isreal at 6 years
old' inspired to jazz by listening a Count Basie record at age 14.
Parents moved to Los Angeles. Won the Yamaha Jazz Piano Competition.
Studied composition at Tanglewood, commissioned to write for large
ensemble, Eastman School Of Music. A member of the Clayton Hamilton
Jazz Orchestra.
Hence the background, which gives his perspective of the
trio with John Clayton, bass and Jeff Hamilton, drums.
Tamir Handelman's arranging, his ability to frame
popular standards with a different kind of pomp, “I'm Old
Fashioned,” “It's Only A Paper Moon,” “ It Never Entered My
Mind,” to a raucous “Do Nothing Til You Hear From Me.” Tamir
Hendelman indeed has a strong hand with a dynamic touch. He has an
ability to frame a song with an even more dramatic harmonics. Then a
more uptempo, change of pace with his own pop visionary, “Spring
Action,” a tasty funk, “Playground,” the core of Tamir
Hendelman's immense, playful and joyous imagination, played out in
neo classic fashion.
He brings out a traditional Spanish flavor with the
spectacle of a matador in
Horace Silver's “Cape Verdean Blues.” “Sycamore”
is opposite, a ballad of lingering melodic memories, with the final
selection, “Almost Summer” on this beautiful 13 song mainstream
collection of originals and standards.
“Playground”
sets the standard, where this young gifted pianist, composer,
arranger will move forward in his career.
BAPTISTE
TROTIGNON SHARE
Sunnyside Records
In case you haven't heard of young French pianist
Baptiste Trotignon...born in Nantez, studied classical piano,
switched to jazz, for French impressionism can only go so far, moved
to Paris, recorded his first CD at twenty, played all the great jazz
clubs, a member of the Moutin brothers jazz group with saxophonist
Rick Margitza, originally from Dearborn, whose dad and uncle
performed with the Detroit Symphony Orchestra and Jack Brokensha, a
former member of the Australian Jazz Quintet, who settled in
Detroit,opened a restaurant on Lothrup Avenue, near the GM and Fisher
Buildings and I hosted a jazz show there, eons ago.
That's my six degrees of separation with Baptiste
Trotignon.
But, this is about a new talent about to make his
impression on the North American market. And his new endeavor,
“Share” on Sunnyside Records is about to make his mark on
American jazz culture.
You'll know it, when you hear “First Song” on his
new “Share” CD on Sunnyside, with the volcanic explosive Eric
Harland on drums and consistent, imposing Matt Penman on bass, his
composition,and dynamics are breathtaking.
As you continue, the realization of Trotignon's
intricate mellow, nuance, artful transgression with impressionism
with modern jazz is fashionable, indelible and long lasting.
If you're into a cool Jim Giuffre, Art Farmer's soft
full tones, Ravel's solitude and Satie's modernism and agargantuan
pop expanding universe, then you'll share this momentous CD.
“Share
“ expands Trotignon's palate with a perfect contrapuntal, “Mon
Ange.”
“Dexter”
is just as it is, a cool west post modern tribute to Dexter Gordon.
“Blue”
is a most intimate duet,almost classical, a ballet with Baptiste
Trotignon and Tom Harrell. It's the most personable profound piece on
this CD, however, depending on the time of night, for “Grey” will
appear with a coaxing Mark Penman's ship and Eric Harland's
withholding, about to explode dynamics drum play. These guys will
take from point a to point Z, with even trying, and your brain is in
zeta mode, free basing all the interlocking societal mechanism, when
it's really just all about a nice sunny day, in the park, listening
to the music, although “Waiting” is more than French
impressionism, more modern emporium, Bill Evans, casual
communication, but “Waiting” is more than just waiting, for
Baptiste Trotignon is a striker, a dabbler, a creator.
“Vibe”
concludes with Trotignon's profound implication, almost Beethoven in
bredth, with a trusty dedicated rhythm section and their
extraordinary listening, participation.
“Vibe”
is worth another listen, for Baptiste Trotignon's technique, command,
originality are extraordinary.
“Share”
is Baptiste Trotignon's debut on Sunnyside, his introduction to
Northy American jazz audience.
It's
a new one, a good one, a profound one, a mind blowing jazz
introduction the 21st
century.
JACKIE
RYAN DOOZY
Open Art Records
This is more than just a jazz corroborated CD
amalgamation.
She has perfect enunciation, impeccable phrasing with
multilingual dexterity, warming Rita Hayworth beauty, grace and
style. And to assemble musicians of this caliber is to acquire the
game's best players for the New York Yankees!
Pianist Cyrus Chestnut is a very important antecedent
to this project for he knows and loves the history of this music.
If you were to ascend to the Mt. Olympus of hipness
and gather the current musician gods, then Eric Alexander, Jeremy
Pelt, Carl Allen, Roy Drummond and the great Brazilian guitarist,
Romero Lumbambo would be, nonpareil extempore! You've gathered the
superstars of the Ming of Mars.
Benny Carter's “Doozy” begins the beguine with a hip
post bop lyrics in her soft voice, for Jackie Ryan may just have the
best phrasing of current vocalists. She's so exact a technician, it
would be to your excellence in math and to study the current
confusion and sing of mathematics with clarity then you'll suppose
the love in “You'll See.”
Here, the repor just shines with Jackie Ryan and Cyrus
Chestnut.
Jackie Ryan's exact phrasing is inspired by her father's
singing, his rare ability to phrase
in Portuguese and Spanish, the very nuance and
amorphous, fluid, digress, and yet very simple.
“With The Wind
& Rain In Your Hair” is a ballad with a young. Romantic
postulate, and Cyrus Chestnut's discretionary piano lines, from sort
of a latter day, George Shearing reflex accompanist. Cyrus Chestnut
is a modern day jazz genius arranger. His ability to make this music,
palatable to most, is sort of..genius!
The Kurt Weill/Ogdon Nash, “Speak Low”is a hankering
structural modality, performed with a Jeremy Pelt, trumpet shading
and Cyrus Chestnut's piano assessment.
Then Jackie sings Bobbie Timmons/Oscar Brown Jr's hip,
“Dat Dere” with the same kind of command and elegance that
shatters a malingering malfeasance.
Ms Ryan dotes on Oscar Brown Jr's humor and jazz
reflectiveness with “Opportunity Please Knock” on the second CD.
Jackie Ryan's treatment of ballads in this 2 CD
collection is exceptional. “I Haven't Anything Better To Do” with
Eric Alexander on saxophone makes it a late night jazz wonder.
Brazilian guitarist Romero Lubambo accompanies a sultry
Jackie Ryan in her Portuguese swinging on “Brigas Nunea Mais/A
Felicidad,” Jobim's ”Caminhos Cruzandos” and the classic amore
of “Solamente Una Vez.”
Other romantic ballads, “Midnight Sun” “Spring Can
Really Hang You Up The Most,” Billy Holiday's ”Tell Me More And
More And Then Some,” and “Some Other Time.”
Jackie Ryan's mystique is intact. She gains a large even
more diverse fame.
Jackie Ryan's is one of the most charismatic of today's
women jazz vocalists, and “Doozy” will complete the evolving,
singer to jazz group participation, to become the best jazz vocal
mainstream CD of 2009!
JOHN
PONDEL / SCOTT COLLEY/ MARIVALDO DOS SANTOS/ DAVE BINNEY JOHN
PONDEL RGM
Recordings
Guitarist John Pondel has many talents, an excellent
sessions man whose graced the recordings on everyone from Dianna
Krall, Gerald Wilson Band, to stealthy lines from Miami Vice, to
“Uncle Festive,” an eighties fusion band and other TV and film
sound tracks.
Pondel's style here is West Coast minimalism, shadings
of Howard Roberts nostalgia and Gabor Szabo, a new guitar modern jazz
organic.
There are prominent others, reedist David Binney, whose
dissonant soft saxophone lines on “Mr Obvious, with Pondel's
rhythmic“Three Blind Mice” refrains and Scott Colley's bass
prominence with percussionist Marivaldo Dos Santos intonations, lots
of brush and snare flair, insistent, soft, yet most declarative.
“HP”
is Pondel and Colley, a duet of shading moods, simple thoughts and
personal ideas in musical post modern impressionism.
“Make
It Nice” is sort of a Mancini 'nice' with Dave Binney's furtive
flute expressions and Dos Santos great understated cymbal percussion
work.
“Jakes
Dilemma” is sprinkled with dissonant funk, as Pondel reaches for a
more straight ahead modality, building on a basic theme supported by
Colley's masterful portrayal of the piece's various melodic virtues.
“Waving
Not Drowning” with David Binney's masterful flute and Dos Santos
unique bliss brush accompaniment. It's Scott Colley and Marivaldo
Dose Santos that drive this tune.
“Where
The River Ends” opens with Pondel's, 'Wes Montgomery- Round
Midnight' impressionism. It's a pervasive subtle nuance of Pondel's
guitar, Colley's strength and Dos Santos slap lucidity that elevate
this tune.
“The
Jody Grind” is a Horace Silver classic and John Pondel's guitar
works extremely well under these dire circumstances. The timing and
excitement is too much a good thing, a superb good thing. Horace
Silver loves this kind of interest- a new approach to his classic
theme.
“Ed
Snipe” is, as mellow far fetched, as Gabor would make it, yet so
synergistic as John Pondel, Scott Colley and Marivaldo Dos Santos
meld it into one driving post modern steely cause, driving through
space.
FRED
HERSCH PLAYS JOBIM
Sunnyside Records
Jazz pianist Fred Hersch plays the music of Antonio
Carlos Jobim. More of the mood and theme of the music than the
“Portuguese” of it.
Hersch introduces a different more profound essence, in
that Jobim's music is more negotiable and adaptable in these
circumstances. Fred Hersch respects the origin of Jobim's writing,
but his interpretation seems devoid of the Bossa Nova beat,
“Por
Toda Minha Vida” is profound, emblematic, yet tragic in
circumstance.
After all, how would we react without melodrama. “O
Grande Amor” is another Fred Hersch solo masterpiece, a most
charming, dramatic Jobim selection, “Luiza.”
“Insensatez
is the most profound of them, elevated to a classic “Romeo and
Juliet” sonata.
Fred Hersch delivers you from the mainstream, to
another level of Dante's “Paradiso,” subtle tragic/comedy
leanings, among the erudite.
“Brigas
Nunca Mais” is deep colors with a more 'tico tico' percussion
with Janet Haddad.
“Modinha/Olha
Maria” is melodic, profound and emblematic as Hersch becomes one
with the beautiful vagaries of the pure solo performance.
“Desafinado”and
“Corcovado” are where pianist Fred Hersch becomes concert
pianist,
Fred Hersch.
“Fred
Hersch plays Jobim” is solo Fred Hersch, most profound, romantic
and reverential, where others may not have that kind of depth. . This
being the essential Fred Hersch.
AMBROSE
FIELD / JOHN POTTER BEING DUFAY
ECM
Tenor
vocalist John Potter sings a style relevant to high tenors of the
14th
Century and electronic digital composer Ambrose Field collaborating
in French composer Guillaume Dufay's 14th century most sacred
chants, performed in a more modern new world aura.
This is an addendum of a far reaching past, where John
Potter's vocals project time fragments, where music was sung,
originally by monks, not the Beatles, but this, set to other world
electronics, projects an Ambrose Field's outer world environment.
“Being
Dufay” blends a modern warming of ancient religious music
artifacts, set to digital electronics and most assuredly
inspirational, meditative and spiritually nullifying.
PS try to imagine Guilliame Dufay's Renaissance
compositions with “Nico& The Velvet Underground.” It only
works on an eclectic radio. Position your mindset and make it so.
ONES
TO WATCH:
MELODY
GARDOT
MY ONE AND ONLY THRILL
Verve Music
Her second CD, as diverse and musically profound as her
first, Worrisome Heart” CD, embellished by Larry Klein's vision and
guidance.”Who Will Comfort Me” is a “Lead Belly” work song,
transformed into a gospel-blues post modern tome.
A young woman, hit by a car, while riding a bicycle in
Philadelphia, who enjoyed alternative rock, awakened and
metamorphosed as Edith Piaf's vision. And wrote “Our Love Is Easy,”
as many new originals on “My One And Only Thrill.”
Larry Klein only frames and focuses Melody Gardot to her
highest voice.
Melody Gardot from Philadelphia will perform in France
and they'll love her, for it.
If you're not interested, we may lose her, for the
Europeans will love her.
Someday she'll walk in beauty with her cane, by the
Seine in Paris, for Parisians will love her, where change-of-life
accidents become faded memories.
MAGOS
HERRERA DISTANCIA
Sunnyside Records
Mexican jazz singer Magos Herrera sings in three
languages, English, Spanish and Portuguese, a popular bossa
nova,”Reuncentro.”along with her own songs, “New Song,” for
example, with Lionel Loueke's compatible guitar and contemporary
African voicing, an articulate personal “Tuis Ojos” and a band
comprised of top jazz professionals, Aaron Goldberg, piano, Lionel
Loueke, guitar, Ricky Rodriques, bass, Alex Kautz, drums and the
Beaujean sisters on back up vocals.
The more you listen to “Distancia,” the more
captivated you become with Magos Herrera.
KENNY
BURRELL
LIVE AT THE DOWNTOWN ROOM High
Note Records\
Recorded in the Downtown Room in The Statler Hotel in
Buffalo, N.Y. More the 30 years ago, this is vintage Kenny Burrell
with Richard Wyands-piano, Leslie Atkinson-bass and Lennie
McBrowne-drums, a very solid quartet, who work so well togehter.
Kenny Burrell considered one the best classic jazz guitarists of all
time. Here's a fine example in his prime.
BRIAN
BLADE MAMA ROSA
Verve Forecast
This is a special Brian Blades, more roots than ever,
surprising and beautiful, an acoustic wonder with a personal truth,
as Blade reaches back to family, spirituality and life reaffirmation.
And Daniel Lanois for helping Brian Blade frame this new and
different sound.
HELIO
ALVES IT'S CLEAR
Reservoir Records
Pianist Helio Alves and guitarist Romero Lubambo, both
Brazilian jazz artists, considered the finest on their instruments,
perform with blazing technique, flair and exciting dramatics. Hence
Helio Alves new CD, “It's Clear,” is extraordinarily clear.
Just listen and it'll grow into a continuous portion of
your matrix.
Dick Crockett
“The
Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca 95819-4743